G.S.I.L.XII/+

In LIA’s digital video productions, mainly geometric patterns based on relatively complex mathematics form poetically compact shapes in time with the accompanying music track. In G.S.I.L.XII/+, LIA used the music of Portuguese Electronica trio @c together with two or three reduced elements which are coordinated precisely with the phases of the music’s beats. The focus is a recurring star-shaped icon which corresponds on the visual level to the smallest sound unit. This white trident, which resembles the stylized fighter jets in early computer games, dynamically shaped guitars played by hard-rock bands, and also biological spores or biomorphic weapons, is repeatedly covered by duplicates with slightly altered angles.

To the rhythm of @c’s music, the star-shaped cascades are joined by a number of colored ring-shaped figures which begin to ”virally” infect the abstract geometric tableau from the edges of the picture. An invasion of the digitally aseptic area by biological growths, or solely the necessary graphic counterpoint to the spiky fractals which become increasingly dense in the center of the screen?

Decisive for LIA’s work method is that she can manipulate external sound inputs directly on a computer. Electronic feedback and overtones are translatable into cross-hatching which is more or less closely arrayed depending on the musical input level, and vice versa, the geometric textures take on nearly ”auto-poetic” degrees of density. Finally, dividing lines and thread-like patterns begin to enter the picture – a sign that a tabula rasa must be created where a new, fully synthetic world is supposed to evolve.